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I saw Damian Woetzel at Fall for Dance (he was seated a row or so over from me.) Maybe he was scouting for Vail?

I, too, will probably avoid the City until Spring season--and hope the entymologists have devised an effective cure? However, I recently stayed overnight at a hotel when I came for FFD. I was afraid to place my suitcase on the floor, or luggage rack/stand (in case any critters crawled up the legs?) so I put it on top of the desk (a hard surface easy to wipe down with disinfectant if necessary?)and only unzipped about an inch to extract my belongings before quickly closing it again. Then at bedtime, I wasn't sure what to do, but took a chance and...no problem; I neither saw nor felt anything bad. (And this was not some 4-5 star hotel) My only concern was later, when I had to put my suitcse into storage for a few hours while I attended a performance, the room it was in was not very clean. So should I fumigate it now? RE: Original thread--Like other non-New Yorkers, I at first thought the NYST had been named after Ed Koch. So like others, I will continue to think/call it the NYST or Koch as in Ed Koch. BTW: I once saw David Koch's brother with one of the (former) captains of an America's Cup yacht on the Green Line in Boston (maybe transferring from Red Line and visit to MIT?) I don't think anyone else recognized them--but it was an America's Cup race year, so I noticed and paid attention. Last Sunday, our local paper reprinted in toto the New Yorker article by Mayer about the Koch brothers--probably because of the association with Deerfield Academy. The Academy has a building named after him too. But does anyone think the arts or cancer research or whatever might eventually absorb enough of his discretionary income to counteract his other more political donation/intentions? I may not agree at all with his politics but will defend his right to put his money where he wants to, and continue to hope ballet's need for defenders and contributors supercedes any tea parties.

(I moved this post from the CBCL thread. It took me a while to find the FFD thread.) Soon after the San Cugat SL's, Angel & Carmen Corella flew to NYC for performances of "Solea" at Oct.6-7 Fall for Dance. Their plane was delayed by the general strike in Spain, and they landed with barely 2hrs to get to NYCC, change, warm-up, and perform...but still, they were both in top form Wednesday night. As noted before, they performed "Solea" previously during CBCL's engagement at NYCC last March, and have also toured Spain with it since then. I think it is a very deft piece that does what it's supposed to do: 1) Allow Angel and Carmen to dance together and express their warm supportive relationship, (2) Show aspects of flamenco and ballet simultaneously to allow one to contrast/compare, and(3)convey some Spanish culture to a general audience through its music, dance, and Spanish exemplars. (RE: Gia Courlas' NYT review...Carmen's choreography in "Solea" is not as fast or fiercely technical as her brother's so I think there is a very good reason why she did not compete with Angel's virtuosity; ie. blame the choreography, not the dancer.) However, despite some tightness in his trapezius/neck I noticed--and who wouldn't have that after a long plane ride and no time to recover?, I haven't seen Angel dance as well as he did Wednesday night in two years. I saw both perfs but Wednesday's especially had super control in the piro sequences; speed, height, and form in the diagonal, and a final menege of jetes that flew with the 180 form, ballon and technique I always remembered. The audience of course was just thrilled to see AC & CC (technique or not) and vociferously proclaimed their support, but I simply got a lump in my throat and could only smile inside & out; all the time thinking: "He's finally back; in more ways than one

I saw Patricia McBride and Jean-Pierre Bonnefous do "Bugaku" in Amherst many many years ago. (Don't remember why they were in town.) Since it hadn't been that long since I had returned to the US from Japan, it was very interesting to see and I immediately recognized the original versions of many of the movements. I also have strong memories of the costumes and that very spare set, all of which really made an impact on me. But after viewing the preview clip here, I am glad to say I'd forgotten the music. (I prefer the original I heard in Japan.)

Interesting about the agents, I assumed they just went through ABT. It seems a long way to go just to do a Nut, but I guess it is "refreshing" and a learning experience for him and them. What did Ethan dance there? BTW: Fellow ABT colleague Angel Corella also guested with Australia Ballet ('04? or earlier?, I think to do Cranko's R&J.) Angel won the Benois in 2000. Has Marcelo Gomes guested with AB yet?

Thanks for the posts regarding CBCL's recent Swan Lake performances "CarolinaM" and "sunday". I haven't seen this production yet except in excerpted videos. The sets look very good (glad it's set in the more traditional--correct?--medieval time) and the costumes truly beautifully detailed and a wonderful pallette. Having seen most of the dancers mentioned in previous performances of different reps, I can agree with most of Carolina's comments regarding the soloists and corps. (I must also say I greatly enjoyed the clips I've seen of them rehearsing "Raymonda ActIII Variations" with Herman Cornejo.) In the only clip I've seen of Natalia Tapia in Swan Lake--the Act2 pdd--it seemed very fast, which sort of negated the lyricism. That surprised me because I remember her in La Bayadere where she was both technically strong and graceful. I really wish I could see both her and CBCL in Swan Lake soon! RE: Fernando Bufala: Ever since I saw him do "Clear" two years ago, I noticed the similarity to Angel in his presentation/technique; though I am glad to say, Fernando is still able to project his own distinct personality and abilities separate from his boss. (As a sidelight to his dancing, Fernando has also ably photographed CBCL in many performances.) And finally I must note...(Moderators please move the following to FFD thread if necessary) Soon after the San Cugat SL's, Angel & Carmen flew to NYC for performances of "Solea" at Fall for Dance. Their plane was delayed by the general strike in Spain, and they landed with barely 2hrs to get to NYCC, change, prep, warm-up and then perform...but still, they were both in top form Wednesday night. As noted before, they performed "Solea" previously during CBCL's engagement at NYCC last March, and have also toured Spain with it since then. I think it is a very deft piece that does what it's supposed to do: 1) Allow Angel and Carmen to dance together and express their warm supportive relationship, (2) Show aspects of flamenco and ballet simultaneously to allow one to contrast/compare, and(3)convey some Spanish culture to a general audience through its music, dance, and Spanish exemplars. (RE: Gia Courlas' NYT review...Carmen's choreography in "Solea" is not as fast or fiercely technical as her brother's so I think there is a very good reason why she did not compete with Angel's virtuosity; ie. blame the choreography, not the dancer.) However, despite some tightness in his trapezius/neck I noticed--and who wouldn't have that after a long plane ride and no time to recover?, I haven't seen Angel dance as well as he did Wednesday night in two years. I saw both perfs but Wednesday's especially had super control in the piro sequences; speed, height, and form in the diagonal, and a final menege of jetes that flew with the 180 form, ballon and technique I always remembered. The audience of course was just thrilled to see AC & CC (technique or not) and vociferously proclaimed their support, but I simply got a lump in my throat and could only smile inside & out; all the time thinking: "He's finally back; in more ways than one."

Lots of memories of many films. I, too, enjoyed The Vikings, and the attempt at historical accuracy of place. But how can anyone forget that pie fight in The Great Race? And of course the omnipresent twinkle they inserted in those blue eyes--a totally unnecessary effect in my opinion. Of course I also appreciated the talent that could move effortlessly (or at least make it appear so)from drama to comedy and all ranges in between...AND retain the admiration, affection, and respect of audiences and colleagues in a very fickle industry. I hope RIP, but I'm sure he's still enjoying the afterlife as well.

Yes, that's part of the question that also includes 'where are the female choreographers and company directors?" Dance Chronicle is bringing out an issue in the next year on the topic -- the call for proposals is still open. Dance Chronicle Where? I went to the link you provided but didn't see any mention of an upcoming issue or RFP. But I would be very interested in the topic (and may have something to contribute about it.) Thanks 'sandik' for alerting me (BT) to this forthcoming issue; I am glad someone is finally willing to research the topic more thoroughly. The major US publications have never had the nerve--well maybe they put in a line or two about women choreographers making forays, but that's all I've observed these many years. And 30yrs later, I'm still waiting for someone to sue NATAS and/or the DGA again for doing nothing.

I am very saddened by this news; I have many recordings of his music. But the first I acquired were, of course, from the tv series (originally BBC) that appeared on PBS. Many years ago, I used to 'blast' that triumphal trumpet crescendo from Brideshead's credits as a reply to anyone who dared offend my sensitive hearing by a blaring bass or over loud rock music. (I used the cannonade from the 1812 Overture once for a similar reason.) But the music that I will always cherish is from the closing credits of Tinker, Tailor... his Nunc Dimmitis (sp?). (And I prefer the original with boy soprano, to the later recording with a female soprano.) May he rest in peace. I will always admire and appreciate his work.

"Plus ca change, plus ca meme chose" (sorry computer can't do accents)... Or, most of the points in this ArtsBeat article all sound very familiar to me, and something I've had to deal with for a very long time. There is a very fine line between wanting your work to be seen by the widest possible, knowledgeable, discerning, and hopefully appreciative audience(s), and signing over all the 'blood, sweat, & tears' and rights of authorship/creation (or life savings) you've poured into a work to some commercially-oriented comglomerate presenter/distributor (however artistically or culturally inclined they purport to be) who will reap all future benefits. So yes, this kind of contract is prevalent in film/tv negotiations, and one reason I've proceeded so slowly releasing clips etc. I've also felt very sorry for those post-graduate/post-doctoral students who invent something while resident at a university, only to have the university hold all the rights in it--and later make the zillions when the invention is exploited. (Having worked with several innovative scientists in the past, I've seen this in action. And the one time a scientist patented her idea before the university could.)

THE '60's My first Swan Lake, I was two years old (my mother said it was ABT, but not certain) it was probably in Tokyo. I remember a very dark theater, and a very small greenish square with very small white dots/people dancing in it. (We were in a very high balcony, last row). I sat throught it all, and didn't cry. Then Nureyev/Fonteyn Vienna film. (Don't remember much now, but I used to play the soundtrack over and over and dance to it.) My next "SL" was the Ice Capades (probably 4-5yrs old), I had a tantrum and cried/shrieked because they spoofed my favorite music/ballet.(I remember a big egg moving out across the ice, and cracking open with a clownlike feather- shrouded figure emerging ) THE '70's Mostly in Japan: KIROV: (I don't remember much except that I liked ACT2, the sets/costumes of ACT3, not the ending, and especially my program with a "M.Baryshnikov" listed as Benno) BOLSHOI: I do remember Plisetskaya, and always shall. Also liked the sets/costumes and choreography until ActIV. ABT: Had tickets for Sleeping Beauty, showed up the wrong night, but with the strong persuasive abilities of my mother's friend was able to attend, seated on the aisle steps. LONDON FESTIVAL BALLET: I remembered the prologue And of course the performance, I rehearsed forever, but never got to dance in because we moved back to the US on short notice. THE 80's - now: USA: BOSTON BALLET / Kirov with Nina Ananiashvili. I also remember Patrick Armand's Siegfried. I LOVED the sets and costumes. The choreography was traditional enough and impressive enough. ABT (Blair) with Makarova/Nagy (also got the taped version), Makarova/Dowell, and Gregory (she still had best swan arms I've seen as Odette). I loved the staging of this, and the way the backdrop changes perspective of the castle's view from Act1 to Act2. And Act4 choreography/ending. (Baryshnikov) with Susan Jaffe's debut, and then later casts including Van Hamel, Gudanov (sp?) etc. (McKenzie) Kent, Murphy, Dvorovenko, Bocca, Corella, Gomes, Carreno. (How I miss Act4!) ENGLAND: Royal Ballet (Dowell choreography)- Agree about sets being disappointing, and costumes something I had to get used to. I didn't mind the choreography in Act4. On TAPE/DVD: London Festival Ballet (Makarova-choreography) Royal Ballet (Makarova/Dowell) Kirov (Lopatkina) Bolshoi (Plisetskaya) ABT (Murphy/Corella) Also saw NYCB's on PBS. Ditto everyone's critique of that. Still deciding which parts of which above performance I like best. (But must mention Tereshkina's '07 Mariinsky Festival Odette on YT too as a favorite.)

Uh, what recording? If you mean the ABT Swan Lake on PBS, Jose wasn't in that, though Gillian of course was. I've never had a problem with Jose's dancing or his partnering so not sure what has 'improved'. Gillian has definately improved since that PBS recordiing, and I've enjoyed watching her grow as an artist (her technique of course is usually not a problem.)

Thanks for linking this blog. It's interesting to me for obvious reasons. As usual, though, I still have the same question I've had ever since DinA began: Where are the female directors, camerapersons etc.etc.?

I went to the website quite early in the morning--(couldn't see paying extra for a 3+hr bus ride then waiting alone in a long line for many hours)--but I forgot to LOG INTO the website until an hour had passed. Consequently, my number was slightly higher then I thought it would be. But it went down pretty fast, and I got my tickets by 11:10. Then it took almost 4 HOURS for CityTix to email them to me. Oh well. Hope the weather was kind to all those in line. (I once did a big research paper on 'queueing theory'--human behavior in such situations can be quite interesting...I assume all balletomanes are unfailingly informed AND polite.)

And very glad he did. I'm glad I got to re-read this thread. "Interiors" was the first film I ever had to review (I was a sophomore) for the H.S. newspaper. My editor knew I'd already seen some of the usual Bergman films (I don't think anyone else in my class had), but I think I got the job of reviewer for the rest of my time in H.S. because everyone was shocked by my use of the words "pleonastic palaver" to describe Allen's version of a Bergman film. I like Bergman, but only tolerate Allen. The only things I liked about "Interiors" were the spare settings, ocean views, and of course: cinematography.

I'm non-techie, what is a "waiting room queue? How do I know what my number is? Will I be re-directed/returned to the Fall for Dance "Buy Tickets" page or will it just bring me to the homepage? If I take the earliest 3+hr bus to NYC, I won't get there until 9:30am ---is that too late to get a ticket at the box office? I only want to attend 1 - 2 days, and actually only really want to see one performance. worth it or not? Reply soon, gotta get some shut-eye if I'm to make that early bus.

I remember watching this on tv way back when, probably on PBS, probably DinA (?), and probably ABT or maybe Joffrey Ballet. I remember no set, and all black cyc. The stage--which looked to me like a large wooden square on risers (which makes sense if it was filmed in a tv studio) was the only thing lit. The entire focus was on the four dancers, not the surrounding darkness. I thought it worked very well, and have remembered the broadcast to this day, because I only saw it live one other time. I would like to see it again too.

Interesting that others had problems with the DonQ too. I didn't think of CGI when I noticed a problem... I just saw the film in a theater 2 days ago (thank you Amherst Cinema), and the editing in this pdd was driving me nuts. (Other sequences too, but that's another story) I estimated each cut was off by about 4 frames, possibly more. Each time it happened I felt like someone had just pushed me off a cliff. First came the shock, then the OMG what just happened, and then my brain started to analyze. Result: I was now disconnected from the action, a bad reaction you don't want to happen to an audience viewing a feature film. I think a lot of the problem was because they were cutting in the middle of a movement. This is a normal/easy enough edit if the motion is basic-everyday, but tricky if you are not familiar with the mechanics/nuance of a movement such as ballet. My problem was not the cuts to slo-mo, jarring though they were, but rather the cuts that were to a shot at the same speed, but not exactly at the correct point to CONTINUE THE ACTION/MOTION/MOVEMENT/STEP. So I would feel like I was running along with everything and then suddenly fell off a cliff. Even the change in angle from straight WS to low angle was odd.** As already mentioned, the cuts to slo-mo were also a bit distracting, but didn't shock me because then I'd start watching more closely during the slo-mo, and sort of forget the jump into it. (I used the BT explanation about "the need to educate non-dancers who don't see or understand the technique/athleticism of a movement" to explain the use of slo-mo to my mom. Once I did, she was glad they used it.) Sorry, I don't know if I'm making any sense to anyone, but the dance editing really bothered me, so that I started to wince a bit during most of those sequences. I thought the rest of the movie succeeded. **PS. I'll admit, I used similar cuts "on the action" and changes in angles in my trailer, but I do think the movement flow is MUCH better IMHO.

I've seen 2 horses and a donkey in a NY City Opera production of Carmen way back when. And I still love the Russian wolfhounds (borzois) ABT uses in Giselle (I don't think they are used in Swan Lake anymore.) My babysitter when I was small had a borzoi, and I always loved the way it looked and moved. My favorite onstage animal experience was at a Siegfried & Roy performance in Las Vegas. Of course they had the white tigers etc., but I will always remember the elephant. It stood on its hind legs, trunk in the air, and well ... I was VERY VERY glad I was not sitting in the first few rows, and felt sorry that management hadn't warned those patrons so situated to wear a raincoat. (Which is why I do not think I need to see either a live tiger or elephant in "La Bayadere" --- and BTW isn't Solor returning from a tiger hunt in Act1, so wouldn't his prey be dead?!)

I noticed Corella Ballet was not listed on the BT calendar. Their performance dates are listed on the CBCL website calendar. But how one integrates the two, I have no idea. (I leave that to the computer technical experts that exist here.) But just an FYI: There are several up-coming Corella Ballet performance dates in late 2010 and 2011 outside of Spain --eg. Portugal, Mexico, and USA.

How cute, hooray for all. (My city competes for the GWW largest public breakfast servings every year--We've won several times, but sometimes Kellogs beats us.) I suspect the choreography for this event was so everyone could stay on pointe for long enough to tally results. Remaining in a single position without moving for the minutes to do this would have probably been more difficult for the 'nonprofessionals' (or very young dancers) participating.

A recent Wall St. Journal article on Nacho Duato's departure from CND, the Spanish government's ideas about it, and reactions from Angel Corella, Tamara Rojo et.al. http://online.wsj.com/article/SB128043818372222339.html?mod=rss_weekend_europe The obtuseness of government bureaucrats never ceases to amaze me. Let's hope the public outcry and continued exodus of talent may enlighten them. PS. Have known about some of the behind-the-scenes proposals etc. for a few months now, but didn't want to say anything until documented/publications appeared. (And to comply with BT well-reasoned editorial rules.)

Sorry, I'm not a lawyer, but isn't there a difference between a license for a product (ie. and/or its distribution) or trademark usage, and payment to the copyright owners for their copyrighted work (ie. the creators/ion of the work/product)? But either way, thanks for the notice about the DCMA and DRM rights. I've been somewhat remiss lately in my legal research and will now proceed to reading the above more closely. And if allowances are really made for docs--besides Fair Use and the Dance Heritage findings already noted above by others--then hooray et merci Helene for informing BT (and me).

OMG! You mean now I won't have to pay zillions for the rights from PBS, WNET, Ms. Kinberg, Mr. Diamond, Mr. Bhargava (sp apologies), the OCPAC, and all their technicians, orchestra, music publishers, not to mention Ms. Holmes and ABT's significant people for that 15 second clip of Angel in "Le Corsair"?! PS. Thanks TenduTV for explaining matters to fellow BT members. I could only shake my head in frustration, but you actually used it, and your experience to elucidate a complicated topic that few not directly involved understand.

Oh I too am very saddened by this news. I well remember him at ABT, and afterwards when he was the company's masseur. He was always so thoughtful to everyone during his dance career, I was glad he would continue to help the dancers afterwards. And Christine Spizzo was/is still my favorite Amour in Don Q. My sympathies to all his friends and family.